• Bee’s neo-iconography was developed in a cultural and spiritual climate where freedom lives together with a stylistic rigor which is consistent with its spiritual content. In Bee’s view, the images of the Theotokos are projections of faith meant to stimulate the spiritual energies of those who contemplate them. After a long spiritual and cultural itinerary crossing through Buddhism and Hinduism, the artist has achieved a fusion of espressions which is unique in its genre. Byzantine art influences Bee with its iconographic history due to its fundamental imprint, which he blends in with his own style, and which allows him not to be bound by historical and cultural patterns and conditions. In the compositional structure of Byzantine art, the artist finds the typologic archetype of the Redeemer and of the Theotokos which is closest to the original transmission of the Gospels. The paintings depicting the Virgin and the Redeemer are authentic masterpieces created by an artist who wants to keep in the shade so as not to lose the inner essence and significance of his art. Bee is a mystic who is endowed with the divine gift of art.

    John Tilde

  • With his psychocosmograms and drawings, Bee, an artist and master of depth meditation, brings to light the content of his individual and collective unconscious. This is an art of "being" which fully expresses the soul of the artist, and is the result of deep introspection with psychological and spiritual methods from Asian tradition.

Erich Fromm

  • My friend Bee’s art emanates an energy which involves me and conveys its sense of mystery to me.

Allen Ginsberg

  • Attracted by certain aspects of Hinduist religion and Zen Buddhism, Masterbee has come to conceive his art as the testimony of a meditative psychic process which is oriented towards a cosmic and universal vision of life, and as a way of expanding his ego, his own Self, into this vision. After having been inspired by oriental religions with their mandala signs and other visual symbols, from which his subtle architectures were spawned, recently the artist has explicitly put together a series of works on themes from Christian iconography, giving a suggestively original interpretation of them. An example is this Crucifix which has been freed from the wood of the cross, while the painting with Christ and the apostles presents itself as an evocative transfiguration of the Last Supper. In the transparent lightness of the color, both images appear to be projected into a dimension existing beyond this world.

As he is attracted by certain aspects of Hindu and Buddhist religion, Bee has come to conceive his art as a direct testimony of a meditative process which is oriented towards a cosmic and universal vision.

Gian Alberto Dell’Acqua

  • The deep and incommensurable stremgth of the profets as described in the Coran is within him and his art.

Gabriel Mandel Khan Califfo

  • In Bee’s art I find an elaboration of the imaginary content of the unconscious, which is symbolized by rigorous geometric schemes in the Yantras and Mandalas. The difference lies in the approach to the vision of depth. While the Yantras and Mandalas are molds which help to approach the mystery, Bee lets his imagination flow freely to reach the essence.

Ravi Kumar — New Delhi

  • The universe created by Bee, the only artist who has managed to offer us his universe in terms that are credible from a scientific point of view, and fascinating from an artistic angle. I am not a critic, I’m only interested in painting when it speaks a language which we can all understand, and which is credible enough to encourage the spirit of research that I have tried to stimulate with my books, articles and debates. Bee follows a continuous route which has been fascinating since he set off, and which will go on captivating us with a wonderful, colored, kaleidoscopic future. Bee offers us an adventure on a Jet of energy without frontiers and without end, of which we can perceive an image only through in his paintings.

Peter Kolosimo

  • In contemplating Bee’s paintings and starting with the Suppers, in which the figure of Christ is simultaneously the source and a part of a thick network through which universal energy runs, I realize how irresistibly they catch the onlooker. I always think, then, about all of those who have not had the privilege of such a vision: a gift of high spirituality combined with exceptional expressive talent.

Carmelo Strano

  • When I met Bee and his work in Japan, I was immediately captured by the charm of this original artist, who wants to stay away from the chaos of the various, more or less significant currents in the international circuit. Bee is totally aware of his artistic importance and he doesn’t hide it, but he lives a hermit’s life that allows him to dedicate all his time to profound contemplation and to art. We cannot be unmoved by the fascination of his works and the psychic and spiritual magnetism they emanate. A mysterious current flows through his works, which are a true testimony of an art which is capable of transmitting an authentic spiritual and artistic experience. The topicality of Bee’s art is evident in modern man’s need to turn to introspection and to the sense of the Sacred if he wants to survive as a complete being and have good prospects for the future.

Y. Hirai

  • Bee is one of those rare examples of artists for whom graphics and the graphic sign are not mere supports of a way of painting or of an art genre, to make it more general, nor do they acquire an autonomous artistic value far from the painting commitment. (Which means that if we should want to explain Bee’s position, undoubtfully without any qualms and without exaggerating, we can say that he is one of today’s most effective graphic experts thanks to his own expressive clearness and power). But here we are expounding the figure of the artist as a whole; how his graphic sign is not a way of achieving a certain type of reality and defining it clearly, but how it is expressly an immediate expression - although harmonously calibrated - of the deepest reality of the soul; and an expression of the subconscious areas of the psyche which in their "epiphany" find their organized arrangement on paper or wood; an order that appears to be necessary, that doesn’t leave room in our imagination for any other kind of arrangement, neither as a supplement nor as an alternative. So we can’t call Bee’s work a graphic sign anymore, but a semantic connotation whose structures (which we can’t call either pagan or pantheistic) are spawned from cosmic and universal power lines. Here is where that magnetism comes from, the magnetism that pervades and flows out of all of his works. The magnetism that powerfully captures the onlooker’s attention in different degrees according to the sensibility of that attention, along the layers of this high spirituality that ranges from the kinetic sensation in the bowels of the earth to the ontological dimension of a nature that is both ineludible and comforting. This spirituality reaches practically imperceptible rarefactions in a planetary dimension into which the soul dives and dissolves. And if behind all of this there is the superb, millenary power of Indian philosophy, religion and culture, nonetheless there is also the flavor of the Western Roman-Judaic-Christian civilization. But Bee’s truth is even more convincing and effective than the truth of a line of thought: the spirituality of which we have spoken and which we are meditating on finds a worthy expressive channel in Bee’s strong charge of creativity and in the high value of his signs and chromatism.

Carmelo Strano

I met Bee at the Steinplaz café in Berlin. Like a person possessed, he was drawing the characters who were frequenting the place. I looked at him while I was drinking my coffee, and then I asked him to portray me. No one has ever interpreted me like he did in his drawing. The interlacing of thick and obsessive lines and the alteration of my physiognomy fascinate me and make me think of a neurosurgeon’s operation.

Klaus Kinski